Eastern Eye marks 20 years of the Hritik Roshan-starrer by presenting 20 fun facts connected to the Bollywood blockbuster
By Asjad NazirAug 03, 2023
ONCE in a generation movie Koi Mil Gaya took everyone by surprise when it was released on August 8, 2003.
From the unique subject matter to the leading man’s remarkable transformation, special effects and introducing an extra-terrestrial into Bollywood, the sci-fi spectacular became a landmark movie and won multiple awards.
It had a stand-out performance from Hrithik Roshan, which won multiple awards. The Rakesh Roshan directed musical about an alien befriending a mentally challenged young man, also spawned two superhero inspired sequels and a cartoon spin-off.
Eastern Eye decided to mark 20 years of a great film by presenting 20 fun facts connected to it.
Rakesh Roshan was motivated to make an out of the box film after attending the premiere of Lagaan (2001). The idea of an extra-terrestrial movie came to him after seeing his five-year-old granddaughter watching a series about it on a cartoon network later that same year.
Anil Kapoor and Jackie Shroff both rejected the father’s role. Rishi Kapoor was approached to take on the character, but he declined and suggested that Rakesh Roshan should play it himself, which he did.
Aishwarya Rai Bachchan was the first choice to play the leading lady. Her unavailability led the director to cast Preity Zinta. Rakesh Roshan had been impressed by her supporting role in Dil Se and felt she would be perfect for the role. Zinta described it as one of her career’s toughest and most fulfilling roles.
Like all his previous directorial efforts, Rakesh Roshan started the film title with the letter ‘K’. But before settling on Koi Mil Gaya, he had considered calling the sci-fi adventure Koi Aap Jaisa, Koi Tumsa Nahin and Kaisa Jaadu Kiya.
A number of different spectacles were tried for the mentally challenged character played by Hrithik Roshan. They eventually used the same pair his super suave character Raj wore in Kaho Naa Pyaar Hai.
The actor lost a lot of weight to play the adult with the mind of an 11-year-old, but it wasn’t enough. To create the illusion of further weight loss, he wore baggy clothes and had a hairstyle that made his face look thinner.
Legend has it that Hrithik took inspiration for his Rohit look, when he is mentally challenged, from legendary spoof singer Weird Al Yankovic.
Jadoo was played by late actor Indravadan Purohit dressed in the costume, with animatronic headgear. He couldn’t see anything and had to rely on instructions to move around. Purohit also found it hard to breathe in the costume.
Principle photography for the path-breaking movie commenced on November 12, 2001 and finally concluded in March 2003. The ambitious project went over budget, largely due to the special effects and designing the alien.
What most audiences did not notice was the alien Jadoo being given an extra thumb, just like Hrithik’s character has in the film. Hrithik revealed it was there for the two characters to feel familiarity but kept subtle because it didn’t turn out how they wanted after the alien was designed.
Two endings were originally shot for the film, with one seeing Rohit lose all his powers after the alien leaves the Earth. After hearing the opinions of leading filmmaker friends, Rakesh Roshan opted for a happier ending where Rohit retains his powers. This would subsequently set up a hit superhero sequel.
A key plot point of Koi Mil Gaya sees the lead protagonist’s father dying in a car crash and his mother getting injured. The same thing happened to Preity Zinta when she was 13 years old, with her father dying and mother surviving a car crash.
Hrithik won both the Best Actor Critic’s and Best Actor at the Filmfare Awards for Koi Mil Gaya.
It was widely believed that Koi Mil Gaya was the first Bollywood film to deal with aliens, but that wasn’t the case. Forgotten 1967 sci-fi drama Wahan Ke Log had an alien theme. (Incidentally, the lead protagonist of that sixties classic was named Rakesh, which is the same as the Koi Mil Gaya director).
Preity Zinta’s love interest in the film was named Rohit (Hrithik). Later in 2003, she had a love interest named Rohit in Kal Ho Naa Ho played by Saif Ali Khan. Koi Mil Gaya and Kal Ho Naa Ho were the two highest grossing films of that year. (Incidentally, Hrithik had played a character named Rohit in his debut movie Kaho Naa Pyaar Hai)
A German dubbed version of the movie was released with the title of Sternenkind(Star Child) in Germany, Austria, and Switzerland duringChristmas of 2005.
Indonesian soap opera Si Yoyo was based on Koi Mil Gaya and ran from 2003–2007. Telugu film Orey Pandu(2005) was also inspired by the sci-fi classic. In 2004, Nickelodeon India produced a spin-off TV series based on alien character Jadoo titled J Bole Toh Jadoo.
Rakesh Roshan was inspired to make a sequel to Koi Mil Gaya after watching the The Lord Of The Rings trilogy.
A book titled The Making Of Koi Mil Gaya: You are Not Alone, Behind the Scenes by James Colmer was published in 2003.
Multiple high-profile people told Rakesh Roshan his son Hrithik playing someone mentally challenged in Koi Mil Gaya would end his career. How wrong they were. The movie became a big hit, spawned two sequels and another one is on the way. It remains a classic and is still celebrated today.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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